Download The Architecture of Vision: Writings and Interviews on Cinema PDF

TitleThe Architecture of Vision: Writings and Interviews on Cinema
PublisherUniversity Of Chicago Press
ISBN 139780226021140
CategoryArts - Film
File Size13.9 MB
Total Pages424
Document Text Contents
Page 1



Of vIsion






Page 2


Preface to the American edition byMarga Cottino-fones VII�
Preface to the first edition by Carlo di Carlo X�
The Gaze and the Story byGiorgio Tinaxzi XIII�


My Experience� 5�
Making a Film is My Way of Life 14�
Actors and Paradoxes 18�
A Talk with Antonioni on His Work 21�

Reflections on the Film Actor 48�
The Event and the Image� 51�
Reality and Cinema Verite� 54�
Preface to Six Films� 57


Attempted Suicide: Suicides in the City

The Girlfriends: Loyalty to Pavese
L 'auuentura: The Adventures of L 'avventura

Red Desert: My Desert

The White Forest

Page 212


in women through the relationship of one male character with many
women. Women provide a much more subtle and uneasy filtering of real-
ity than men do and they are much more capable of making sacrifices and
feeling love. While living around women, I have often had moments of
complete exasperation, and I have felt locked in, suffocated, with a strong
urge to escape. And sometimes I did leave. The truth is that I still like
women very much.

Did you like them enough to run the risk of making a film with fi'ue lead

The story for The Girlfriends came from Pavese's beautiful story Among
Women Only, which I did not follow too closely. I like the complexities of
a group relationship, the mixing together of different personalities, the
coming and going of people. I really did like Turin, and I can't believe how
it is changed now. All of the actresses and I got along very well. They loved
and respected me. Making the film, however, was very difficult, with many
mixups on the set, including several that involved me. Eleonora Rossi
Drago was the "diva" of the moment and felt that she had to act as such,
without success. Valentina Cortese was as beautiful as she is now, and I
fought epic battles with her until I succeeded in convincing her to say her
lines without mannerisms, maybe for the only time in her life. Yvonne
Fourneaux was good, and Anna Maria Pancani was cheerful and full of
life. The most support I had to give to Madeleine Fisher, who had the
least amount of experience. She was chosen at the last moment, two days
before we started the film, from a photograph in a fashion magazine. She
was a model and I think she now lives in a commune. The filming was
suspended several times because there was no money. The same happened
with The Cry. Money was always the problem, while it seems to me that
the best memories have always to do with human relations. We were less
self-concerned, more relaxed, and we used to see each other more often.
Today I feel oppression, depression, closure, fear in the people around me,
especially in people involved in cinema who have gone through hard
times. I instead feel quite content.

Page 213


Did [957, with The Cry, mark the end ofa first stage" and the transition,
with L'avventura, to another creative phase?

I would say so, ifI had not written the subjects of the two films at the
same time and presented them both at the same time to the producer. He
chose The Cry, and I think that he made a bad decision. The film brought
me my first success in France, but it was not well-received in Italy, and I
still do not understand why. I do not know whether it was good or bad,
but it seemed to be adequately concise and balanced. I liked the sequence
with all the lunatics-and almost all of them were lunatics in real life. I
always got along well with mentally ill people. One of my uncles was
mentally ill, and when I was a child the family entrusted him to me and
we got along very well. Mentally ill people see things that we cannot see.
I do not believe in reason too much. Reason does not provide happiness;
reason does not explain the world, or love, or anything that is important.
Who knows whether there was a reason behind the commercial failures
of some of my films. It is possible that they were depressing or, more
simply, that they were not rhetorical or melodramatic. I have always
detested melodrama more than any other thing. I have lived through
many melodramatic scenes in my work and in my life. But I have always
restrained myself from showing my own feelings, and why shouldn't I
have restrained my characters from showing their feelings?

If it depressing or gratifjing to once again see and discuss your oldfilms?
This may sound trite, but it is true. I have always felt like the father of

my films. You have your children, they grow up, and then they leave.
Every so often we see them again, and sometimes these encounters are
not too pleasant.


Page 423


The Tempest (Lattuada), 375

That BO'll'ling Alley on the Tibo; 218,232,

23 6,23 8

La terra trona (Visconti), 187,208

Thomas, Dylan, 59

Titov, Ermann, 285

Troisi, Massimo, 240

Tron (Lisberger),3 53

Truffaut, Fran<;:ois, 21 I
Tura, Cosme, 236,248

Turin, 191

Two Telegrams, 238,244

The Two-Headed Eagle (Cocteau), 158,361

Uccello, Paolo, 248

United States, 177, 223, 249, 298, 301,

3 I 9-ff, 366, 367, 378-79

Upton, Jerry, 3IO

Valery, Paul, 54, 103

Vancini, Florestano, 212

The Vanquished (h'inti), 5, 3I, 7 I, 73, 188,

18 9,195,248, 263-ff, 274, 279

Vassallo, Paolo, 279-80

Vedova, Emilio, 44

Velasquez, Diego, 248

Venice, 363

Venice Film Festival, 2 I 7

Vigo, Jean, 2 I I
Visconti, Luchino, 10, 35,65, 187,208,


Vitti, Monica, 32,41,42,66,78,83,9°,


Vittorini, Elio, 319

Wajda, Andrzej, 204

\Nalker, Beverly, 3 IO
War Games ('), 352

Warhol, Andy, 3 I 5

Welles, Orson, 2 I I

Wenders, Wim, 243, 244, 359, 371, 382

The White Sheik (Fellini), 198

Who:' Afraid of Virginia Woolf (Polanski),


Wittgenstein, Ludwig, 232

Woolf, Virginia, 228

Wurlitzer, Robert, 255

Zabriskie Point, 92-ff, I02, 169, 179, 201,

216,224,243,248, 298-ff, 304-ff, 320­

ff, 347, 375, 378

Zappa, Frank, 18o

Zavattini, Cesare, 71,137,266

Zinnemann, Fred, IO

Zurlini, Valerio, 212

Page 424


Widely acclaimed as the consummate filmmaker's filmmaker, few post-war figures in world

cinema have been as influential as Michelangelo Antonioni on directors and screenwriters

coming of age in the 1960s and 1970s. His 1995 Academy Award for Lifetime Achievement

marks the long-overdue, official recognition of a fifty-year career of rare talent and innova­


Here, for the first time in English, Antonioni's writings and interviews on cinema are avail­

able in a collection which is an homage to its author and a major contribution to the appre­

ciation of his work. The Architecture of Vision is an indispensable tool for understanding the
work of a cinematic giant 'whose investfgation of the "crisis" of individuals and groundbreak­

ing use of "visual minimalism" remains unique in contemporary culture.

Michelangelo Antonioni was born in Ferrara in 1912. In the course of his long and distin­

guished career, he created such masterpieces as L'avventura (1960), La norte (1961; with

Marcello Mastroianni and Jeanne Moreau), The Eclipse (1962), Red Desert (1964), Blow-Up

(1966), Zabriskie Point (1970), and The Passenger (1974; with Jack Nicholson). These, as well

as other earlier and perhaps less known films, have assured him a place as one of the seminal

Figures in modern cinema. At age seventy-three, Antonioni has just finished co-directing,

with celebrated German director Wim Wenders, Al di Iii delle nuvole [Beyond the Clouds].

'For us filmmakers, seeing is a necessity. The same applies to painters. But while the painter

s interested in discovering a static reality or, if you prefer, a rhythm, albeit a rhythm which

1as been 'frozen,' the film director's problem is how to grasp something as it is waxing and

Naning, and then offer this movement, this coming and going, as a new perception. It is not

In image, a landscape, an attitude, or a gesture, but an indivisible whole, spread across a peri­

1d of time which penetrates it and determines its very essence. This is where the time dimen­

;ion, in the most modern sense of the term, comes into play."

-Michelangelo Antonioni

ISBN 1-56886-016-1
51995 >

;53 Broadway
luite 600
-Jpw Ynrk NY 1()()(),

Similer Documents